Julie Escurignan
Ecole de Management Léonard de Vinci, Marketing, Faculty Member
- Celsa Sorbonne, Information and Communication Sciences, UndergraduateRoehampton University, Media, Culture and Language, Alumnus, and 2 moreadd
- Media Studies, Television Studies, Cinema and Television, SF Film and Television, Television series, Science Fiction, and 14 moreReality television, Adaptation (Film Studies), Cross-Cultural Studies, Cross-Media Studies, Cross Border Studies, History, Cultural Patrimony, Fan Studies, Communication, Rhetoric, Creative and Cultural Industries, Culture, Marketing, and Brandingedit
- Assistant Professor in Marketing and Communication and Head of the Master in Creative & Cultural Industries Management at De Vinci Business School (France). PhD in Film and Television Studies at the University of Roehampton, London, UK. Researcher in Marketing, Media, Cultural Industries, Fandom ... moreAssistant Professor in Marketing and Communication and Head of the Master in Creative & Cultural Industries Management at De Vinci Business School (France).
PhD in Film and Television Studies at the University of Roehampton, London, UK.
Researcher in Marketing, Media, Cultural Industries, Fandom and TV Studies.
International Liaison Popular Media and Culture Division - ICA
Former Board Member and Student Representative at the International Communication Association.
International Instructor with teaching experience in France, the US and the UK.
My thesis researched the transmedia experience of Game of Thrones' transnational fans.edit
Research Interests:
Escurignan, J. (2016), Contemporary Latina/o Media: Production, Circulation, Politics. Arlene Dávila and Yeidy M. Rivero eds. New York: New York University Press, 2014. 368 pp. $79.00 cloth. . J Pop Cult, 49: 689–691. doi:10.1111/jpcu.12430
Research Interests:
Starting as a series of fantasy novels by George R. R. Martin in 1996 and adapted as a television drama series by HBO in 2011, Game of Thrones is one of the most popular examples of what is sometimes referred to as transmedia narratology.... more
Starting as a series of fantasy novels by George R. R. Martin in 1996 and adapted as a television drama series by HBO in 2011, Game of Thrones is one of the most popular examples of what is sometimes referred to as transmedia narratology. Its storyworld has, namely, expanded across a range of HBO of cial and licenced products and platforms, from board games to video games, dedicated websites and collectibles. With the series, the network has developed a particular visual identity for the franchise. The aim of this chapter is to uncover the various elements of this visual identity and to discover if the storytelling across the various media platforms matches the visual universe established by the television show, that is to say if the visual elements characteristic of the series can be found across the different media. In other words, is there a coherent identity in all the products associated with HBO’s Game of Thrones or can we nd visual discrepancies in the individual media iterations? To do so, this study will attempt to distinguish the visual features that characterise Game of Thrones as a brand. Building on Barthes’ semiotic ap- proach (1957), on studies of transmedia narratology (Ryan, 2004; Jenkins, 2008; Mittell, 2015) and on research exploring the relationship between marketing and transmedia storytelling (Bourdaa, 2014), this study offers an in-depth analysis of the series’ visual identity as it is created on different media sites.